52
" That Reagan shaped mechanical gadget in the metal box that made you jump like a little sissy boy, Joe, that is the heart and soul of what the flag’n’Jebus crowd is scared of so bad they can’t even think about him existing.” He looked at Joe, waiting for an aha! that didn’t come. “That whole wing of modern conservatism lives for, on, about, with, in, and by the idea that everything is happening via supernatural powers and that the devil is powerful and has to be fought. Modern science totally spoils that because it gives people so much power but not from supernatural sources. No God in the instruments, you know?“So with modern tech we can make Ronald Reagan appear to come back from the grave, but to do it with modern tech leaves no need for spirits or sacred words or miracles or any other flavor of magic. Which only re emphasizes what they’re most afraid of: living in a world where nobody paints the sky blue every morning, or leaves quarters for teeth, or made platypi as a joke, or decided to sculpt the Grand Canyon, or took granny to heaven to make chocolate chip cookies for the angels. Nobody, nobody, nobody. So since their theology won’t let me bring in a Robo Jesus to call forth Robo Reagan, like sort of a Robo Lazarus, and they really want this, like so many people do…well, it can’t come from nobody, it has to come from somebody, and the somebody can’t be God.“Well, if the devil is anything, he’s somebody.”Joe was still sputtering. “But it…I mean, they’re going to think it’s coming out of Hell! Literal capital H real place Hell!”“Well, exactly. Think about how much that proves. If there’s a Hell and a Devil, there’s also a Heaven and a God. Once they have their Reagan back all they have to do is pray over him a little, drive the devil out, accept the blessing of a restored Reagan on behalf of God, and they’re good to go. God forgives crazier shit than that all the time. "
55
" Are these black cats like the hare?" " No. They're smaller; they only want me to play with them. Fly away with them to a place on the other side of the moon. There's a garden there, all silvery-gold, and the cats and hares dance and jump round and round. They can jump so much farther than they can on earth; it's like flying, and they love it so. Sometimes I've felt as if I'd like to dance and jump through the air too, they looked so happy, and I've thought maybe if I did I wouldn't be afraid any more, but when I look they're all dancing round a Figure that sits still in the middle of the garden. A big black Figure with a hood on. And It hasn't got any face. Its face is so awful that It keeps it covered. And then I get so terribly afraid. And everything stops." " And you see all that in the picture?" " I don't know." She hesitated again. " I think it's partly dreams. After I've thought they were at the windows - the cats and the big hare. They sit there and watch, you see, after I've gone to sleep. But they don't come often. I don't usually know what's there." She came closer and whispered, her blue eyes earnest and weird, " I don't think it's an animal hare. I think it's Aunt Sarai's hare, that maybe it came from hell. It isn't swearing to say that word just as the name of a place, is it? That's why people used to be so scared of witches' black cats, isn't it, because they thought they weren't earth-cats, they were from the devil? Mother says there isn't any hell or any witches. But Aunt Sarai was a witch; that's why she can come back. I think they've all been witches here; the house is mad because mother wouldn't be; that's why it wants me now." Carew said, " It was all dreams, Betty. There is no hell. There is no garden on the other side of the moon. It's a dead world, full of volcanic craters, with no air for anything to grow in or breathe. A hare frightened you and, being nervous, you've had nightmares about it - pictures that fear paints on your mind just as an artist would on canvas, with paints and brushes." Every dream is now a movie we make for ourselves in our sleep... "
57
" There is a terrible truthfulness about photography. The ordinary academician gets hold of a pretty model, paints her as well as he can, calls her Juliet, and puts a nice verse Shakespeare underneath, and the picture is admired beyond measure. The photographer finds the same pretty girl, he dresses her up and photographs her, and calls her Juliet, but somehow it is no good – it is still Miss Wilkins, the model. It is too true to be Juliet.
George Bernard Shaw
Wilson’s Photographic Magazine, LVI, 1909 "
― , The Photographer's Eye
